A handful of the Met's Porgy and Bess

Review

Even with Gershwin's best intentions in demanding that this opera only ever be produced with an all-black cast, it is nonetheless apparent that this was and is an opera written for the white gaze. Be it the cringe-inducing libretto, the caricatured depiction of Southern accents (both white and black), the depiction of the hyper-saturation of religion in black communities (on and on with talk of the "promised land") and the gross exaggeration of Bess as the quintessential portrait of semper femina.

Chronicle of Nine a slow-building triumph

Review

The music, while still adhering to some trappings of the medieval stylings, began to explore outside the bounds of its medieval stylings in order to do something new. The libretto, already full of pathos for its subject, finally found its stride as far as moving the plot at a good clip.

Last-minute surprises & a star performance by Barton: HGO's La Favorite

Review

Mezzo Jamie Barton inhabited the lead role of Léonor very naturally indeed, especially in her aria “O mon Fernand,” itself a perfect example of Donizetti’s felicitous employment of confident Parisian harpists and wind players in prominent positions. Such inspired orchestrational choices are the sort of thing that give great singers an optimal point to start their dramatic conceptions of such arias.

Talking with singers: Blythe Gaissert

Interview

"I feel like my voice has grown a lot in the last five years or so. Wagner is becoming more comfortable and I’m looking at some Verdi roles. I try to always learn and grow to just see what happens. Even if it's not something that becomes my wheelhouse, it's something that informs my other repertoire."

Talking with singers: Marnie Breckenridge

Interview

"Not only do I hope more people will know a bit more about Jacqueline and honor her memory, I hope they will take away a sense of immediacy. A reminder that we each have a finite amount of time on this planet, so why not burn our creative flames of talent, love, and kindness as brightly as possible while we inhabit the bodies we've been given!"

Technologies may change, people may not: DMMO's The Human Voice

Review

Stage Director Kristine McIntyre brought Poulenc’s one woman drama into the modern era with her own updated translation of the libretto. Performing the opera in English removed the need for supertitles which let the audience focus on the drama. In addition to the telephone, McIntyre added in some new technologies such as a smartphone and tablet.

A Love Letter to Jennifer Holloway

Review

Richard Strauss's Salome has always been a controversial opera, to say the least. The premiere performance in 1905 was not particularly well received, though famously the premiere was attended by Giacomo Puccini, Gustav Mahler, and Adolf Hitler. Based off of Oscar Wilde's play of the same name, Salome comes from a Biblical tale, though highly erotic and controversially murderous.

A vague ensemble opera: Flight

Review

It seemed to be a two-and-a-half-hour opera about people being their worst in a confined space. It was, basically, a series of vignettes that could be amusing and meaningful in a shorter format.

Expecting magic from Opera Atelier's 2020-21 season

Editorial

Frankly, we should all be so lucky to get real-time commentary by Pynkoski. He's endlessly interested and interesting; he even had me craning my neck to see what he was on about with this business about downbeats being up in a choreographed fencing duel. For nearly 35 years, Opera Atelier has been putting up shows that, take it or leave it, have an aesthetic that is 100% fleshed out.

A "vital and contemporary" evening in BERLIN: The Last Cabaret

Review

With the world premiere nature of this show and the resurrection of some of this music, it should come as no surprise that the songs disappeared from our cultural lexicon because they’re not musically memorable. I kept waiting for a showstopper, but none were forthcoming